Komische Oper Berlin: Die Zauberflöte lightens up

On Friday night we went to Die Zauberflöte at the Komische Oper Berlin. The production, originated at this opera house together with the British theater group 1927, has been drawing attention internationally because of its elaborate video projections and lighting effects. Except for a white, wooden wall as screen there are no props on stage. The spectator has the feeling to watch a silent movie. The singers are dressed like silent movie heroes of the 1920s. As they sing, they interact with the projected symbols and creatures. The recitative, that is normally spoken, appears as subtitle on the screen, accompanied by piano music like in a silent movie show – excerpts from Mozart’s Fantasia in D-minor.

The youtube video above is a news clip from a performance of the same production in Duisburg in 2013.

Here is the vocabulary of the video’s commentary:

wird (Infinitiv: werden) als Vollverb (main verb) = der Prozess zu einer neuen Kondition.
Ich werde müde. Lisa wird Astronautin. Hier: Es wird dunkel.

dunkel = wenig oder kein Licht

ruhig = nicht laut, keine Nervösität

Musik setzt ein (Infinitiv: einsetzen) = Musik beginnt

der Vorhang = Textilien, Tuch vor dem Fenster, vor der Bühne

der Zuschauer = eine Person des Publikums, schauen = sehen

ähnelt (Infinitiv: ähneln) = nicht genau oder fast das Gleiche

das Bühnenbild = die Dekoration auf der Bühne

sich einer großen Aufgabe stellen = man will einen großen Plan realisieren

gestalten = designen

die Herausforderung = eine große Aufgabe, die schwer für uns ist

die Schwierigkeit = etwas, was nicht leicht ist

die Besonderheit = das Spezielle

agieren = aktiv sein, handeln

die Leinwand = die Projektionswand für Filme

die Alptraumwelt = eine Welt der schlechten Träume

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berndhendricks

Bernd Hendricks. Born in Duisburg, Germany. Based in Berlin. Writer, German Language Educator. I was six years old when I went to the opera for the first time. My Grandma took me to Hänsel und Gretel at the Deutsche Oper am Rhein in Duisburg. The first time I met an opera singer personally was during my time as foreign correspondent in New York when at a Christmas party a baritone pelted me with questions about the language of Zauberflöte. He was preparing for his role as Papageno. After my return to Berlin in September 2010, I have been giving German lessons to singers on their audition tours. My workshops in Berlin, Vienna, and London are based on my widely read book Ach, ich fühl’s—German for Opera Singers in Three Acts: Studying, Speaking, Singing. My latest book, Die Frist ist um—Navigate the Language of 10 German Operas, takes you on a journey through the language of the most popular and often performed operas in the German-speaking countries. I am also the author of several non-fiction books and two novels.

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